[D-G] Automation from the Souls of Artists.

[Mike Lansing]

One Deleuzian musician has pioneered exploration of rhythms is Richard
Pinhas, from Le Voyageur (O Ardarilho) -- Heldon e Gilles Deleuze
(youtube) to more recent Heldon - Les Soucoupes volants vertes
(youtube), which complex background rhythms seem ideal with which to
experiment with amino acid sequences.

<-----Original Message-----> 
>From: Mike Lansing [badger2 at mail2world.com]
>Sent: 3/17/2019 2:23:17 PM
>To: deleuze-guattari at lists.driftline.org
>Subject: Re: [D-G] Automation from the Souls of Artists.
>
>One can watch as Bogue explains "added value" in this youtube video
at
>timepoint 17:48.
>
>Oliver Messiaen and Becoming Bird
>https://www.youtube.com/watch?v=tvx-HEWC2Oo
>
>
>The reader may also ask as did John Beasley-Murray: "What is the value
>at the point of exchange?"
>
><-----Original Message-----> 
>>From: Mike Lansing [badger2 at mail2world.com]
>>Sent: 3/17/2019 2:16:45 PM
>>To: deleuze-guattari at lists.driftline.org
>>Subject: Re: [D-G] Automation from the Souls of Artists.
>>
>>We must continue Bogue's excerpt in order to arrive at the point
>where
>>Messiaen not only has introduced the dualism of the One but then
>>proceeds to negate bergsonian triplicty of flux by introducing god's
>>violence, the precursor to any sacrifice, the precursor to the false
>>(Bergson's essay on False Recognition) perception of the Ambiguous
>>Trident (blivet):
>>
>>'Messiaen's concept of "rhythmic characters" ("personages
>>rhythmiques"), which Deleuze and Guattari cite in Mille plateaux, may
>>be seen as an extension of the notion of added values. By
progressively
>>modifying a figure through the addition or subtraction of rhythmic
>>values, the composer can develop "personages rhythmiques" whose
dynamic
>>relationships are like those of characters on the stage:
>>
>>'Let's imagine a scene in a play between three characters: the first
>>acts in a brutal manner by hitting the second; the second character
>>suffers this act, since his actions are dominated by those of the
>>first; lastly, the third character is present at the conflict but
>>remains inactive. If we transpose this parable into the field of
>>rhythm, we have three rhythmic groups: the first, whose note-values
are
>>always increasing, is the character who attacks; the second, whose
>>not-values decrease, is the character who is attacked; and the third,
>>whose note-values never change is the character who remains immobile.'
>>(Samuel 37)
>>
>>The progressive augmentation of r diminution of values in itself is
not
>>an uncommon compositional technique, but in Messaien's hands it
becomes
>>a complex and original mode of musical development. Messiaen handles
>>rhythmic units as if they were living entities, and as the table of
>>fourteen basic augmentations and diminutions in Technique de mon
>>langage musical attests, his conception of the possibilities of
>>rhythmic cells as generational components is far in advance of most of
>>his contemporaries.....Messiaen's third basic rhythmic innovation is
in
>>the use of "non-retrogradable rhythms," which may be defined simply as
>>palindromic rhythmic patterns with a central common value. Again,
>>Messiaen's technique is not unheard of in other composers, but the
>>palindromes he creates are generally much more complicated and
>>irregular that those one meets in others' works.....for
instance....the
>>last three notes are the retrograde of the first three, the two
>>three-note units framing the central value of the quarter note tied to
>>the sixteenth. Group B is also retrograde of group A. The rhythmic
>>structure is far from conventional, the values of the measure falling
>>into sixteenth-note groups of 7,5 and 7, the entire passage
functioning
>>as a measure in 19/16 time. Such non-retrogradable rhythms form closed
>>units that Messiaen generally either uses as rhythmic pedals or
>>develops through augmentation of the outer units. As Messiaen
observes,
>>one senses in these rhythms "a certain unity of movement (where
>>beginning and end are confused because identical)," a unity of
movement
>>that discloses a time at once circular and reversible.'
>>
>>Bogue-Messaien have described the antinomy of the impossible trident,
a
>>universal (unity-desiring) symbol of misperception and deception.
>>
>>
>><-----Original Message-----> 
>>>From: Mike Lansing [badger2 at mail2world.com]
>>>Sent: 3/17/2019 12:57:32 PM
>>>To: deleuze-guattari at lists.driftline.org
>>>Subject: Re: [D-G] Automation from the Souls of Artists.
>>>
>>>You have pointed to why we think the Impossible Trident is being
>>used
>>>against the voting U.S. prisoners as a Democratic socialist
deception,
>>>as a decoy.
>>>
>>>Firstly, we translate your Liebniz excerpt below as....'I take it for
>>>granted that everything to be created is subject to change, and
>>>therefore the Monad created as well, and that change is continual in
>>>each.' We believe that indeed it is the basis for the spiritual
>>>automaton, it is the basis for theogonic repetition and reproduction
>>>that keeps the prisoners hostage within Pimp Jaba's harem and
>>>protection-racket prison called religion.
>>>
>>>To further plumb the deceptions used against Homo sapiens, we use
>>>Bogue's (awful) example of Messaien as musician in Genosko's Deleuze
>>>and Guattari: Critical Assessments of Leading Philosophers, pp.
>>>240-254, Rhizomusicology: '....Although Deleuze and Guattari do not
>>>propose a new technical vocabulary for musical analysis (per se
>>>[italics]), they do offer a means of construing music as an open
>>>structure that permeates and is permeated by the world, a reading of
>>>the cosmos and music not as mechanical and mathematical but as
>machinic
>>>and rhythmical -- what one might call, with a certain Panglossian
>>>bravura, a "rhizomusicsomology." Chief among those who inspire
Deleuze
>>>and Guattari in this enterprise is Oliver Messaien, whose remarks on
>>>rhythm and birdsong provide several of key concepts in "De la
>>>ritournelle.' My purpose in this essay is to outline the basic
>features
>>>of Deleuze and Guattari's rhizomusicosmology, and then to suggest
some
>>>ways in which Mille plateaux and the musical and theoretical works of
>>>Messaien mutually illuminate one another. My object is not to
identify
>>>sources or trace influences, but to describe the process of
"becoming"
>>>that takes place between Deleuze-Guattari and Messaien -- one that is
>>>paradigmatic of the "encounters" that generate the unpredictable
>>>theoretical developments of Mille plateaux.
>>>....
>>>Musicorhizonomy....But obviously what draws Deleuze and Guattari to
>>>Messaien is the composer's dedication to experimentation in all the
>>>parameters of musical expression. Deleuze and Guattari call for a
>music
>>>that puts in continuous variation all components," that forms "a
>>>rhizome instead of a tree, and enters the service of a virtual cosmic
>>>continuum, in which even the holes, silences, ruptures and cuts have
a
>>>part." (MP 121) In this regard, Messaien's music is exemplary. As
>early
>>>as 1944, Messaien spoke in his composition classes about the
>>>limitations of the Second Viennese School, in whose works pitch
>>>structures alone are investigated while conventional rhythmic and
>>>formal conceptions remained unexamined (see Golea 247). Throughout
his
>>>career, Messaien has experimented with rhythm and harmonic modes, and
>>>in his works since Mode de valeurs et d'intensites (1949) he has
>>>explored various serial and modal approaches to dynamics, timbre,
>>>duration and other compositional components. One of the areas of most
>>>intense experimentation in Messiaen's music is rhythm. Rhythmic
music,
>>>he states, "is music that scorns repetition, straight-forwardness and
>>>equal divisions. In short, it's a music inspired by the movements of
>>>nature, movements of free and unequal durations" (Samuel 33). For
>>>Messaien, as for Deleuze and Guattari, rhythm and meter are
>>>antithetical concepts, and what passes for "rhythmic music" (jazz,
>>>military marches) he sees as the negation of true rhythm. Messaien
>>>defines rhythm as "the change of number and duration.":
>>>
>>>'Suppose that there were a single beat in all the universe. One beat;
>>>with eternity before it and eternity after it. A before and an after.
>>>That is the birth of time. Imagine then, almost immediately, a second
>>>beat. Since any beat is prolonged by the silence which follows it,
the
>>>second beat will be longer than the first. Another number, another
>>>duration. This is the birth of Rhythm.'
>>>....
>>>'
>>>
>>>Is the reader quite sure that Guattari, who wrote on birdsong before
>>>Deleuze did so, was actually influenced by this Catholic mafia
>>>musician-convert? Giattari himself said that hios project was
>radically
>>>atheist, and we certainly won't take that for granted. Here one can
>see
>>>just where Messaien smuggles in his god as first-cause violence,
>>>because Messaien is incorrect that the second beat is longer than the
>>>first, which is only the perception of his DNA (sourced from the
>crusty
>>>lips of a volcano, the original Mimetic Desire), and which concept
>>>links to the deceptions involved in perceiving Bernie Sander's as the
>>>Impossible Trident, as we will show, forthcoming.
>>>
>>>
>>>
>>>
>>><-----Original Message-----> 
>>>>From: Johnatan Petterson [internet.petterson at gmail.com]
>>>>Sent: 3/16/2019 6:46:36 PM
>>>>To: deleuze-guattari at lists.driftline.org
>>>>Subject: Re: [D-G] Automation from the Souls of Artists.
>>>>
>>>>hi again again Mike,
>>>>
>>>>i have to quote this from Monadology 14
>>>>as it answers from a body of text which Spinoza thought to
>>>>not mention when talking about the Mind of Things and the Mind of
>>>Animals:
>>>>
>>>><<L'état passager qui enveloppe et représente une
>>>>multitude dans l'unité, ou dans la substance simple,
>>>>n'est autre chose que ce que l'on appelle la Perception,
>>>>qu'on doit bien distinguer de l'aperception ou de la Conscience,
>comme
>>>il
>>>>paraîtra dans la suite.
>>>>Et c'est en quoi les Cartésiens ont fort manqué, ayant compté pour
>>>rien les
>>>>perceptions
>>>>dont ne s'aperçoit point.
>>>>C'est aussi ce qui les a fait croire que les seuls Esprits étaient
>des
>>>>Monades,
>>>>et qu'il n'y avait point d'âmes des Bêtes ni
>>>>d'autres Entéléchies; et qu'ils ont confondus avec
>>>>le vulgaire un long étourdissement
>>>>avec une mort à la rigueur,
>>>>ce qui les a fait encore donner
>>>>dans le préjugé scolastique des âmes
>>>>entièrement séparées et a même confirmé
>>>>les Esprits mal tournés dans l'opinion de la mortalité des 
>>âmes.>>
>>>>
>>>>
>>>>yea, yet ok it seems relevant for Leibniz that consciousness is
>>>relevant
>>>>to the internal feeling of the monad and the perception
>>>>is relevant to the exterior environment of the monad, and 
>perception
>>>which
>>>>is not constant.
>>>>
>>>>a perception that we do not perceive thus causes
>>>>the opinion of the "Cartesians" believing that
>>>>Beasts have no Consciousness, according to which
>>>>the Details changing in Perception have no value
>>>>and they are indifferent in the Beasts. He later ascribes to 
>Memory
>>>>some peculiarity to the Sciences.
>>>>I guess it is worth mentioning that the Arts have thus
>>>>all interest in multiplying the Sources of Perception
>>>>in the Arts (in the medium, and the collection of medium by the 
>Arts)
>>>>if it is true that they have parts that are non-machinic.
>>>>teeth are divine machinery for Leibniz.
>>>>That is if Mankind wants its perfectibility.
>>>>Yet what Artif it comes NOT composed of non-machinic parts ad
>>>infinitum,
>>>>after all, no? Fernand Leger at the beginning of Micropolitic and
>>>>Segmentarity
>>>>is a painting with loads of light and artificiality, right? That 
>is a
>>>>disjunctive function that ought to be synthesized !
>>>>This assertion that certain parts in an Artistic medium are
>>>non-machinic,
>>>>in Leibniz, ensues from his axiom namely that <<Je prends 
>pour 
>>>accordé
>>>>que tout être créé est sujet au changement, et par conséquent
>>>>la Monade créée aussi, et même que ce changement
>>>>est continuel en chacune.>> (Monadology 10)
>>>>Is that the base for the principle of the Spiritual Automaton
>>>>which Deleuze later applies to both Leibniz and Spinoza?
>>>>Leibniz has simplified the version that is exposed in Spinoza
>>>>that there are distinctions based not on substance they are based 
>on
>>>rest
>>>>and movement and speed and slow.
>>>>The change is not "continuous" in Spinoza. Hence the difference 
>with
>>>>Details of Things which change which make "so say
>>>>the specification and variety of simple substances".
>>>>At the contrary, a stress by a philosopher to Art creating
>>>>Affect-Relations & Perceptions within Multiplicities of non-
>machinic
>>>>(spiritual?) Automata would help the perfectibility of Mankind's 
>and
>>>>re-integrate within the one Artist as Spiritual Automaton, the
>>>>perfectibility of Mankind's Central Memory
>>>>which is the Science of Continuities and Breaks.
>>>>
>>>>Best,
>>>>Johnny
>>>>
>>>>
>>>>PS
>>>>by reading your last quote I am quite worried about the unique way
>the
>>>>Philosophers
>>>>like Guattari or Deleuze have gained such powerful influence in
>>>>all the spectrum of society lately, it's a bit sad, no?
>>>>_______________________________________________
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g
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>>_______________________________________________
>>List address: deleuze-guattari at driftline.org
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>>Archives: www.driftline.org 
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